Couple things. First, this is really amazing cover art. Second, this album has some really great songs on it. That’s all.
“They called it major, which is to say, it’s important. It’s a conservative viewpoint—things are fine as they are. For me, as a fairly depressed child, that attitude didn’t reflect my melancholy outlook.”
That’s Jason Beck aka Chilly Gonzales, as quoted in this interesting little New Yorker post. I’m loving this album so damn much.
Part of the reason he talks back so much (nearly doubling the initial length of his speech, in this case) is that he likes the sound of his own voice. But there is something else: Clinton is such a master of rhetorical strategy—he commands such innate and reflexive mastery of what makes the spoken word resonate—that he cannot help but improve his speech as he gives it. He doesn’t ad lib in the sense that extras in a movie have a restaurant conversation. He improvises, in the sense that Miles Davis or Beethoven would come up with an enduring work of art on the spot.
And from there it goes into a nice play-by-play showing exactly how Clinton played off the teleprompter during different parts of the speech. Great piece about a great speech, and a truly gifted public speaker. If you haven’t seen it yet, do.
Bonus: Hendrik Hertzberg agrees.
Pretty clever stop-motion work from Part and Parcel. (via Design Envy)
The great Milton Glaser on failure. Basically success can be limiting, and failure helps you learn. Watching this, and this documentary, Glaser seems to have attained a unique mix of playful curiosity, calm deliberation, emotional awareness, and a little bit of the rascal. I hope to be so cool (without caring at all about being cool, which is kind of the same thing) when I’m older.
Really great design on this new New York Times photo archive blog. The backs of these photos are as beautiful as the fronts, and I love how the UI foregrounds that by allowing you to replicate the experience of flipping them over. It’s one of the best uses of CSS3 animation I’ve seen to date, going beyond novelty and creating a metaphor that delights the user and furthers the emotional connection with these beautiful objects. So yes, very well done.
“The most valuable thing my parents instilled in my brother and me is that if we’re passionate about something, or even interested in it, we should just do it and let it run its course and if it’s something we learn more about and decide we’re not interested in, that’s fine, but we didn’t decide that prematurely. Instead of one big moment, there were a series of moments, and those continue. That’s an ongoing thing with me. I probably chase those moments, to be honest.”
, interviewed at The Great Discontent
A London Street Scene (1840) by John Parry (via feuilleton)
Enjoying Museum Studio’s hyper-patterned identity for Marble, the new record label from ex-Institubes guys Surkin and Para One. Also, if you need some completely over-the-top, arena-sized, piano-banging dance music to start out your week, Marble can do that for you.
Not super interested in reading Gladwell right now, but if I was, I would so buy these great-looking books. Designed by Brian Rea and Paul Sahre. Bigger images here.
Enjoying the hand-drawn styles of the Smallville record label and shop. The new Moomin album they just put out is nice too — low key dusty house vibes.